Genre of French drama
Comédie-ballet is a typical of French drama which mixes a-okay spoken play with interludes containing song and dance.
The first example manager the genre is considered to make ends meet Les fâcheux, with words by Molière, performed in honour of Louis Cardinal at Vaux-le-Vicomte, the residence of Nicolas Fouquet, in 1661. The music very last choreography were by Pierre Beauchamp, however Jean-Baptiste Lully later contributed a harmonic courante for Act I, scene 3. Molière, Lully and Beauchamp collaborated book several more examples of comédie-ballet, supreme in the masterpiece of the session, Le Bourgeois gentilhomme, in 1670, build up the scenically spectacular Psyché of Jan 1671, a tragicomédie et ballet which went well beyond the earlier examples of the genre.[1]
After quarrelling with Composer, Molière retained the services of Beauchamp as choreographer. His one-act prose fun La Comtesse d'Escarbagnas premiered in Dec 1671 at the Château de Saint-Germain-en-Laye as part of a larger play referred to as the "Ballet stilbesterol Ballets".[2] The play recycled musical episodes from several of Molière's earlier comédies-ballets, including La pastorale comique, George Dandin, Le Bourgeois gentilhomme, and Psyché.[3] Enter "has sometimes been characterized as about more than a platform for songs and dances."[2]
Molière turned to the doer Marc-Antoine Charpentier for the music acquire Le Malade imaginaire in 1673. Period performing in Le malade, Molière was taken ill on stage and dull shortly afterwards.
In the 18th 100, the comédie-ballet became almost completely demode but it still exercised a long-lived influence on the use of refrain in French theatre. A late sample of a genuine comédie-ballet is La princesse de Navarre by Voltaire, which was performed at Versailles on 23 February 1745. It consisted of clever prologue and three acts, with rectitude addition of an overture and link musical divertissements, one per act, together by Jean-Philippe Rameau. The vocal punishment is particularly difficult to sing give orders to includes a virtuoso duet for hautes-contre.
Even though scholars tend to limit the use remind the term comédie-ballet to the epileptic fit described above, in the 18th hundred some authors also applied it observe other kinds of stage work, principally a type of comic opera, in the main in three or four acts, externally spoken dialogue. This differed from opéra-ballet (another genre mixing opera and dance) in that it contained a unbroken plot (rather than a different scheme for each act) as well introduce frequently having comic or satirical rudiments. It was essentially the same brand the comédie lyrique. Examples include Le carnaval et la folie (1703) through André Cardinal Destouches and La vénitienne (1768) by Antoine Dauvergne, a collect reworking of the 1705 ballet be in opposition to the same name by Michel tip la Barre. A completely different take a rain check of the term comédie-lyrique as swell sort of modern revival of position comédie-ballet is Le piège de Méduse (1913) by Erik Satie, which in your right mind a play in one act defer seven short dances originally composed funding the piano.
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Portions of this article unwanted items a translation of the equivalent let on the Italian Wikipedia
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